Alas, a Blog

Note: Portions of this post were edited on January 19 to correct problems that resulted from careless cutting and pasting.

Oy! So I was, with mild interest, reading the conversation that was beginning to develop around the post written by Julie about J Street opening local chapters. I say “mild interest” because I find so much of the politics surrounding the conflict between the Israelis and the Palestinians–which also means the conflicts between and among all the various groups who have an interest in how that conflict is, or is not, resolved–not only tiresome, but also, all too often, childish. It’s not that I think the issues are not profoundly, world-changingly important; it’s just that I no longer have the patience that I once had for sifting through the partisan nitpicking and political opportunism, not to mention the outright hatred, into which so many discussions of those issues inevitably devolve. Still, the little bit that I have heard about J Street has suggested to me that they are trying to be adults by, at the very least, broadening the conversation both in terms of content and in terms of who gets to participate, and that is refreshing, even though I don’t know enough about most of their positions to say how much I support them beyond the statement I have just made.

What caught my interest about the conversation Julie’s post started was that it concerned literature, the role of literature in political movements, the stance political movements should take towards individual works of literature, what it means to write politically engaged literature and what it means to engage literature politically. The first part of the conversation is about the play Seven Jewish Children, written in 2009 by Caryl Churchill in response to Israel’s invasion of Gaza. The play consists of a series of simple imperative sentences, each beginning with “Tell her” or “Don’t tell her”–her being a female of indeterminate age, though she is probably pretty young. Collectively, these imperatives represent some of the positions that Jews, as groups and as individuals, Israeli and not, have taken in response to both the Palestinian-Israeli conflict and Israel’s existence. In my own opinion, the play, which I have not read as carefully as I might, and so I am willing to be convinced otherwise, walks a fine line between exposing and critiquing, but also humanizing, the denial and hypocrisy of many who support Israel’s policies out of fear for their own and the Jewish community’s survival, and propagandizing that position as a tool to demonize both Jews and Israel. Ultimately, I don’t think the play crosses the line into propaganda, though I can see how others might reasonably say that it does. Moreover, since it is a play, I suppose that what really matters in terms of this question is how the play is produced, not simply how it reads on the page.

The first comment on Julie’s post is by Sebastian, who says:

I do not remember seeing any discussion of J Street [on Alas]. Before you rush and support them, check at least the Wiki entry… and maybe look into how mainstream Israel supporters feel about them. Maybe also read Seven Jewish Children and remember that J Street endorses the play.

Chingona then points out that J Street did not “endorse” the play. Rather, the organization asserted that the play is not necessarily antisemitic and they defended the theater company that put the play on. Sebastian then admits not that he’d misread J Street’s position on the play, but that he hadn’t even bothered to read the original statement; he also explains that he thinks “it’s worth reading and discussing [Seven Jewish Children], but staging it according to the terms of the author is taking a stance with which I most certainly do not agree.” Presumably, since he does not specify, the part of the terms of performance that Sebastian objects to is the text in boldface below:

The play can be read or performed anywhere, by any number of people. Anyone who wishes to do it should contact the author’s agent (details below), who will license performances free of charge provided that no admission fee is charged and that a collection is taken at each performance for Medical Aid for Palestinians (MAP), 33a Islington Park Street, London N1 1QB, tel +44 (0)20 7226 4114, e-mail info@map-uk.org, web www.map-uk.org.

Certainly, Sebastian is within his right to disagree with these terms, and he is within his right not to attend any performance of the play and to try to convince others not to attend; he also would be within his rights to organize a boycott of the play in his community were someone trying to put it on there. What I am interested in, however, is that the disagreement he expresses is not with the text of the play itself, which he thinks is worth reading and discussing, but with people putting the play to political use, to serve a practical purpose in the world, one that involves human being, human bodies and the relationships between and among them. Some might argue that medical aid is not political, or at least that it ought to be beyond politicization. In principle, I agree, if by politicization you mean the kind of partisanship that is more about who wins and who loses than about finding solutions; but it’s not just that there is nothing about the Palestinian-Israeli conflict that is not already, always, political and politicized; it’s that medicine is itself, wherever and however it is practiced, is already, always, political simply because it is about human being and human bodies; and to suggest that literature ought not to be used to make medical care available to people who need it, regardless of the politics of the organizations involved, is to suggest that literature needs to be controlled, hemmed in, fenced in, to be kept safe from those who would corrupt it, to protect its purity, so that it can be read and discussed, for example, without the taint of an overt political agenda. Or maybe it is to suggest that it’s us who need to be kept safe from literature, because literature has the power to move people to act, not just to think and to feel.

However one understands the impulse to keep literature out of the material reality of people’s lives, that impulse at its core is the impulse to censor, to control meaning and thereby to control people’s imaginations. Let me be clear, though: I am not accusing Sebastian of censorship or of wanting to censor anyone. He is neither making nor advocating policy in his comments on Alas; and let me be clear about something else as well: I am talking in this post about literature, works that aspire to the level of art, the purpose of which is to explore human being and feeling, not–as propaganda attempts, and is designed, to do–dictate it. I can imagine, for example, a production of Seven Jewish Children that might qualify as propaganda, one in which, say, the characters were all wearing Nazi uniforms and in which there was no irony to make that costuming decision anything other than a simple equating of Israel with Nazi Germany. I would not argue that such a production should be censored, but it is unambiguously a production neither I nor anyone I know would support, no matter how worthy the goal of fund raising for Medical Aid for Palestinians might be–and from what I can tell that is a worthy goal. What if, though, the director of the play, the one who made the choice to put Nazi uniforms on the actors, was Jewish, and let’s say he or she was making in this production a serious attempt to use that costuming in an ironic way, as a reference to the fact that the Jews, who were the victims in the Holocaust, are now, in Israel, in the position of being an occupying oppressor, of victimizing the Palestinians. ((I wish I didn’t feel the need to add this footnote, but I do: To make this reference is, of course, not to deny that the Palestinians have also been guilty of victimizing Israelis.)) The point of the comparison, in other words, is not to say that Israel–and, by extension, the Jews–are no different from the Nazis, that the Israelis are committing what is tantamount to genocide against the Palestinians, but rather to illuminate the dynamic by which violence begets violence, all too often turning those who were victims of violence into perpetrators of the kinds of violence they suffered. Further, imagine that the program notes for this imaginary production make clear that it is intended to explore what it means that the violence done by the Israelis to the Palestinians has become part of Jewish identity, in the sense that if one is Jewish, one must be accountable in some way for one’s responses to that violence. Moreover, let’s even say that there is a note in the program explaining that the choice of Nazi uniforms was because the Holocaust, more than any other persecution the Jews have suffered, can stand for all the persecutions through which the Jews have lived. The comparison to the Holocaust per se, in other words, is not even the point. Continue reading →